Renovčević (Blues & Rock)

In this tale of sex, violence, race, and rock and roll in 1950s Chicago, “Cadillac Records” follows the exciting but turbulent lives of some of America’s musical legends, including Muddy Waters, Leonard Chess, Little Walter, Howlin’ Wolf, Etta James and Chuck Berry.

 http://renovcevic.blog.rs

The documentary (or rockumentary) was made in 1973 by Joe Boyd, John Head and Gary WeisWarner Bros. The film contains concert footage from 1967 to 1970, including material from Isle of Wight and the Monterey Pop Festival. The film also includes interviews with Hendrix' contemporaries, family and friends. The estate of Jimi Hendrix authorized the 1973 film to be re-released on video and DVD in 1999, and a special edition DVD was released 2005. for

 Jimi Hendrix is a 1973 rockumentary about Jimi Hendrix, directed and produced by Joe Boyd, John Head and Gary Weis.
The film contains concert footage from 1967 to 1970, including the Monterey Pop Festival the 1970 Isle of Wight Festival, Woodstock and a Berkeley concert.
The film is also known as "A Film About Jimi Hendrix".

The film also includes interviews with Hendrix' contemporaries, family and friends. People appearing in the film include

• Paul Caruso,
• Eric Clapton,
• Billy Cox,
• Alan Douglas,
• Germaine Greer,
• Hendrix' father, James A. "Al" Hendrix,
• Mick Jagger,
• Eddie Kramer,
• Buddy Miles,
• Mitch Mitchell,
• Juggy Murray,
• Little Richard,
• Lou Reed
• Pete Townshend

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Bird is an Academy Award-winning 1988 U.S. film directed by Clint Eastwood.

The film is a biopic, a tribute to the life and music of jazz saxophonist Charlie Parker, written by Joel Oliansky. It is constructed as a collage of scenes from Parker's life, from his childhood in Kansas City, through his marriage to Chan Richardson, to his early death at the age of thirty-four.

In the middle of the 1980s, Charlie Parker's friend and colleague Teddy Edwards shared his reminiscences of the saxophonist to director and screenwriter Joe Oliansky, who had wanted to make a bio-pic about Charlie Parker starring actor Richard Pryor ^[1]. The production was postponed continuously, until the producer/actor Clint Eastwood took over the film project.

Forrest Whitaker's performance as Parker earned him the Best Actor award at the Cannes Film Festival and a Golden Globe nomination. [1] In addition, the film also won an Academy Award for Best Sound.

Cast

• Forest Whitaker — Charlie "Bird" Parker
• Diane Venora — Chan Parker
• Michael Zelniker — Red Rodney
• Samuel E. Wright — Dizzy Gillespie
• Keith David — Buster Franklin
• Michael McGuire — Brewster
• James Handy — Esteves
• Damon Whitaker — Young Bird
• Morgan Nagler — Kim
• Arlen Dean Snyder — Dr Heath
• Sam Robards — Moscowitz
• Penelope Windust — Bellevue Nurse
• Glenn Wright — Alcoholic Patient (as Glenn T. Wright)
• George Orrison — Patient with Checkers
• Bill Cobbs — Dr Caulfield

Black Snake Moan is a 2007 film written and directed by Craig Brewer. It was filmed in and around Stanton, Tennessee, and stars Samuel L. Jackson, Christina Ricci, and Justin Timberlake. The title of the film derives from the 1927 Blind Lemon Jefferson song, while the plot is loosely based on George Eliot's 1861 novel Silas Marner. The film draws numerous references to the Mississippi Blues movement, not least in its title and soundtrack.

The film centers around two main characters: Lazarus (Samuel L. Jackson), a deeply religious farmer and former blues guitarist, and Rae (Christina Ricci), a young sex addict. Lazarus's wife has left him for his brother, which has left him a bitter and angry man. Rae's boyfriend Ronnie (Justin Timberlake) leaves for deployment with the 196th Field Artillery Brigade, Tennessee National Guard, and in his absence she has bouts of promiscuity and drug use. During one of Rae's binges, Ronnie's friend Gill (Michael Raymond-James) tries to take advantage of her. She laughs at his advances, comparing him unfavorably with one of the local black men, and he severely beats her. Believing she's dead, Gill dumps Rae by the side of the road and drives away.

Lazarus discovers Rae in the road the next morning and brings her home to nurse her back to health. Over the course of several days, Rae, delirious with fever, occasionally wakes up and tries to flee from Lazarus. He ties her to the radiator with a heavy chain to keep her from running away. After Rae regains her wits, Lazarus announces that it is his spiritual duty to heal her of her sinful ways and refuses to release her until he does so. Rae makes several attempts to escape, but eventually comes to tolerate her position. Lazarus gives her a proper dress to wear, plays guitar for her, and feeds her home-cooked meals. Meanwhile, Ronnie returns to town after being discharged from the National Guard due to his severe anxiety disorder. While searching for Rae, who has disappeared, he meets Gill, who informs him that Rae cheats on him whenever he is out of town. Ronnie attacks Gill, steals his truck, and continues searching for Rae.

Lazarus's pastor and close friend, R.L. (John Cothran Jr.), visits Lazarus at his house and discovers that Lazarus is imprisoning Rae. The pastor tries to reason with Lazarus and the group shares a meal. In the morning, Lazarus frees Rae, having decided that he has no authority to pass judgment on her. Rae chooses to stay with Lazarus of her own will. Later, Rae and Lazarus take a trip into town, where Rae confronts her mother (Kim Richards) about the sexual abuse she suffered at the hands of her mother's partner. Meanwhile, Lazarus has formed a budding romance with the local pharmacist, Angela (S. Epatha Merkerson). He plays a blues concert at a local bar, which Rae attends. Ronnie spots Rae and follows her to Lazarus's house. He confronts the pair with a pistol, but Lazarus talks him down and summons the pastor. Ronnie and Rae decide that they are stronger together than apart and get married. While driving away, Ronnie suffers a panic attack and Rae begins to break down, but together they overcome their afflictions.

http://rapidshare.com/files/129972962/BSMoan.part1.rar
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Eugene Martone (Macchio) has a fascination for the blues while he studies classical guitar at the Juilliard School for performing arts in New York City. Researching blues and guitar music brings famed Robert Johnson's mythically creative acclaim to his attention; especially intriguing is the "missing song" that was lost, supposedly evermore, to the world.

In his quest to find this song, he discovers old newspaper archive clippings that, fortunately or not, the blues legend Willie Brown (Joe Seneca) is yet alive and incarcerated in a nearby minimum security hospital.

On a visit to meet this musical icon, Eugene gets thwarted by Willie who denies that he is that Willie Brown and doesn't have any idea what Eugene is saying. Undaunted and to get around the minimum security surrounding the old man, Eugene gets a job as an orderly so he can grill the old man as work time permits. Willie again protests and denies that he is the same Willie Brown for whom Eugene is looking.

Eugene then plays some blues guitar for Willie and he finally acknowledges that the Eugene can indeed play well, but with no soul. Willie then says he knows the missing Robert Johnson tune but refuses to give it to Eugene unless the boy busts him out of the facility and gets him to Mississippi. Eugene agrees and they head for Mississippi, but the boy soon realizes that Willie is constantly running minor scams such as claiming he has more money then he has to cover their bus tickets. With no money, they end up “hoboing” from Memphis to Mississippi.

During their quest, Eugene and Willie experience the blues legacy of Robert Johnson first-hand, taking part in an impromptu jam session at a roadhouse or "juke joint" as "Blind Dog" Willie puts it. Eugene is deeply impressed and his feelings of the authenticity of Willie being an old bluesman takes firm hold in his mind.

A romantic interest surfaces in the guise of a hitchhiker, Frances, (Jami Gertz) who follows them. She and Eugene end up sharing a tender moment in a hayloft. She soon thereafter becomes miffed at the mission at hand and leaves the two guys, so now Eugene gets a feel for the blues, playing on an old Fender Telecaster guitar and a Pignose. His style and mood is now totally altered and affirmed, making him really want to become a "blues-man" too.

They ultimately get to the crossroad and finally meet Ol' Scratch, the devil who probably bartered for and won Johnson's soul in exchange for the gift of his masterful guitar and musical style. Eugene then finds out that Willie Brown made a similar deal with Scratch back in his day. Now that he is an old man, Brown says he didn't get what he really wanted and is concerned the line on his soul will be up when he dies.

Not wanting to risk his young friend's soul, Willie forbids Eugene to get involved any further than he already is. In fact, Brown now confesses that there was no missing song for Eugene to learn but that he (Eugene) has proven himself far beyond what learning any blues song could ever teach him. Eugene wants to go for broke here and assuredly views himself as a savior to his friend Willie; just maybe he'll find the truth about Johnson's instant musical abilities once and for all.

Brown finally returns to the crossroads with Eugene in hope of breaking off the deal when he also bartered his soul. There, speaking out of turn, Eugene offers to try to win Brown's soul back in a head-cutting duel with any guitar player of the devil's choice. Scratch chooses Jack Butler (played by Steve Vai), a modern blues-metal man who has also sold his soul for musical abilities. After a blistering guitar duel, Eugene eventually manages to incorporate the classical training he received at Juilliard and wins the challenge.

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Pass  : captainemo

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Pass : eelpower

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The Blues Brothers is a 1980 musical comedy directed by John Landis and starring John Belushi and Dan Aykroyd as "Joliet" Jake and Elwood Blues, characters developed from a "Saturday Night Live" musical sketch. It features musical numbers by R&B and soul legends James Brown, Cab Calloway, Aretha Franklin, Ray Charles and John Lee Hooker, and car chase scenes.

The story is a tale of redemption for paroled convict Jake and his brother Elwood, who take on "a mission from God" to save from foreclosure the Roman Catholic orphanage in which they grew up. To do so they must re-form their rhythm and blues band, the Blues Brothers, and organize a performance to earn $5,000 to pay the tax assessor. Along the way they are targeted by a destructive "mystery woman", Neo-Nazis, and a country and western band – all while being relentlessly pursued by the police, and eventually the military and a SWAT team.

The film is set in and around Chicago, Illinois, and also features non-musical supporting performances by John Candy, Carrie Fisher and Henry Gibson.

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The Buena Vista Social Club was a members club in Havana, Cuba that held dances and musical activities, becoming a popular location for musicians to meet and play during the 1940s. In the 1990s, nearly 50 years after the club was closed, it inspired a recording made by Cuban musician Juan de Marcos González and American guitarist Ry Cooder with traditional Cuban musicians, some of whom were veterans who had performed at the club during the height of its popularity.

The recording, named Buena Vista Social Club after the Havana institution, became an international success, and the ensemble was encouraged to perform with a full line-up in Amsterdam in 1998. German director Wim Wenders captured the performance on film, followed by a second concert in Carnegie Hall, New York City for a documentary that included interviews with the musicians conducted in Havana. Wenders's film, also called Buena Vista Social Club, was released to critical acclaim, receiving an Academy Award nomination for Best Documentary feature and winning numerous accolades including Best Documentary at the European Film Awards.

The success of both the album and film sparked a revival of international interest in traditional Cuban music and Latin American music in general. Some of the Cuban performers later released well-received solo albums and recorded collaborations with international stars from different musical genres. The "Buena Vista Social Club" name became an umbrella term to describe these performances and releases, and has been likened to a brand label that encapsulates Cuba's "musical golden age" between the 1930s and 1950s. The new success was fleeting for the most recognizable artists in the ensemble: Compay Segundo, Rubén González, and Ibrahim Ferrer, who died at the ages of ninety-five, eighty-four, and seventy-eight respectively; Segundo and González in 2003, then Ferrer in 2005.

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